- ii7G♭m7
- V13C♭13
- Imaj7F♭maj7
C♭13 is the chord that wants to resolve, so ending the loop on it hands straight back to the top.
The C♭13 chord is a dominant thirteenth chord built on the root note C♭. Its notes are C♭, E♭, B𝄫, D♭ and A♭. It's enharmonically the same chord as B13.
Dominant thirteenth chords are the fullest dominant sound in common use, a dominant seventh with a ninth and a thirteenth piled on top. The major sixth on top, sounding an octave up as the thirteenth, gives the chord a bright, open lid.

Switch to the interactive diagram to hear the chord, change voicing and swap finger numbers for note names.
To play C♭13 on piano, place your right hand with your thumb on C♭, index finger on E♭, middle finger on B𝄫, ring finger on D♭ and little finger on A♭. Press the keys together and listen for an even sound. Practice moving in and out of the chord slowly, then bring in a metronome.

Switch to the interactive diagram to hear the chord, change voicing and swap finger numbers for note names.
On guitar, C♭13 is commonly played with the voicing shown above. Strum only the strings marked as active in the diagram.
Also known as B13
| Degree | Interval | Semitones | Note | Hear |
|---|---|---|---|---|
| 1 | Root | 0 | C♭(Cb) | |
| 3 | Major third | 4 | E♭(Eb) | |
| ♭7 | Minor seventh | 10 | B𝄫(Bbb) | |
| 9 | Major ninth | 14 | D♭(Db) | |
| 13 | Major thirteenth | 21 | A♭(Ab) |
The C♭13 chord is built from a root, a major third, a minor seventh, a major ninth and a major thirteenth. Start at the root C♭ and stack the intervals to get the whole chord: C♭, E♭, B𝄫, D♭ and A♭. The same formula gives you the chord in any other key.
Dominant thirteenth chords are the default rich dominant in jazz, gospel and R&B horn and keyboard voicings, usually the V7 resolving to a major or minor tonic. Big band charts lean on them wherever a plain dominant seventh would sound thin.
A dominant chord wants to resolve. Its home is the V of a major key - and the I of a blues, where the pull never lets up.
C♭13 is the chord that wants to resolve, so ending the loop on it hands straight back to the top.
The twelve-bar shape boiled down. The tonic is itself a dominant seventh, which is what makes it a blues.
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